عرض Seedance 2.0
تصفح التوليدات العامة الناجحة من المجتمع وافتح أي عنصر لفحص الموجه والإعدادات والمخرجات.
“Wide-angle cinematic shot inside a professional boxing ring under bright arena lights. An adult blonde woman wearing...
“Wide-angle cinematic shot inside a professional boxing ring under bright arena lights. An adult blonde woman wearing short denim shorts and red boxing gloves faces a heavily muscular male opponent. The crowd is blurred in the background. She suddenly launches a lightning-fast punch. He raises both arms to block, but the impact is overwhelmingly powerful — his arms are violently forced outward, dropping uselessly to his sides, leaving his torso completely exposed. In the next instant, she drives a crushing punch into his abdomen. The force lifts him off his feet and sends him flying backward out of the ring, crashing onto the floor. The woman remains standing in the center of the ring, calm and dominant, then raises her fists in an effortless victory pose
SCENARIUSZ: "KOŃCÓWKA DNIA" (Wersja Skrócona) Sceneria: Wnętrze starej chaty, noc, czarno-biała taśma 35mm. Światło...
SCENARIUSZ: "KOŃCÓWKA DNIA" (Wersja Skrócona) Sceneria: Wnętrze starej chaty, noc, czarno-biała taśma 35mm. Światło tylko z jednej świecy. Postacie: Zmęczona Matka (lniana koszula), Syn (rysujący w tle). Akcja: Statyczny szeroki kadr z progu drzwi. Matka na ławie moczy stopy w emaliowanej miednicy. Na kolanach lniany ręcznik. W głębi syn rysuje przy stole. Tekst Matki (szeptem): „Boże... w końcu... w końcu mogę moczyć nogi...” PROMPT DLA WAN AI (Techniczny): "Static wide shot from the doorway into an authentic, dark peasant hut. 35mm black and white film, heavy grain, high contrast. Lighting strictly from a single flickering candle on a table (chiaroscuro
A man wearing a black t-shirt featuring the exact “No Signal” design printed cleanly on the chest. Outdoor setting. S...
A man wearing a black t-shirt featuring the exact “No Signal” design printed cleanly on the chest. Outdoor setting. Scene 1: Front-facing still shot, minimal motion. Scene 2: Camera slowly orbits from front to side angle. Scene 3: Slight close-medium shot, subject remains still. Subtle digital interference appears only in the background. Shirt graphic stays sharp and unchanged.
ASMR
ASMR
Create a 10-second vertical video as if a bodycam is mounted on the center of a man’s chest (chest-height POV). Subur...
Create a 10-second vertical video as if a bodycam is mounted on the center of a man’s chest (chest-height POV). Suburban backyard during late afternoon, overcast sky, damp grass, wooden fence, quiet environment. The man is in his mid-20s, light skin, average height and build, short dark brown hair, clean-shaven, wearing a light gray hoodie, blue jeans, and dark sneakers. Ahead in the yard is a small puppy: golden-brown fur, floppy ears, round face, dark brown eyes, small black nose, soaked fur clinging to its body. The puppy is crouched low, trembling, clearly distressed. The chest-mounted camera moves slightly as the man steps forward and bends down. The puppy remains in view, shivering and looking up. All action shown from chest POV. No dialogue. No other people.
the camera moves away from the engineer, and from the left comes a red fluffy furry anthropomorphic dogs crowd, and t...
the camera moves away from the engineer, and from the left comes a red fluffy furry anthropomorphic dogs crowd, and then they all hug the engineer, and the engineer says: come on, do we wanna kiss kihss boys! and 6!
A cinematic construction time-lapse animation of a modern mid-rise office building in an urban city. The scene begins...
A cinematic construction time-lapse animation of a modern mid-rise office building in an urban city. The scene begins with an empty construction site and visible ground excavation. Concrete foundations are poured, followed by the structural frame rising floor by floor. Tower cranes lift materials as scaffolding appears around the building. The facade is installed gradually: white exterior panels and vertical green glass windows are mounted symmetrically. Interior lights briefly flicker on during installation. Final stage reveals the fully completed building with clean streets, sidewalks, light traffic, and surrounding city buildings visible in soft atmospheric haze. Smooth aerial drone camera orbit, slow and stable motion, realistic scale, photorealistic materials, professional architectural visualization style. Natural daylight, morning lighting, realistic shadows, subtle dust particles during construction, cinematic realism.
A colossal, realistic woolly mammoth is comfortably settled onto a plush, oversized armchair indoors, a cozy scene co...
A colossal, realistic woolly mammoth is comfortably settled onto a plush, oversized armchair indoors, a cozy scene contrasted by the blizzard raging outside the window. The time is night, deep winter. The mammoth’s belly is visibly full, almost bursting, with remnants of a pizza feast. Inside, a bewildered pizza delivery guy is visible, though not the focus. The camera begins as a medium shot, eye-level, and remains static for the first four seconds, establishing the scene. Then, the perspective smoothly transitions to a first-person view *from inside* the mammoth – a realistic POV effect showing blurred shapes of the room and the chair’s fabric. Throughout the 12-second clip, the mammoth speaks in a warm, motherly voice (enhanced with a 'mommy mammoth' voice filter), addressing her belly affectionately, commenting on how good it feels to rest. Realistic and loud stomach gurgling sound effects punctuate the scene, emphasizing her contentment. The room is littered with numerous, colorful pizza boxes. The lighting is natural, coming from a nearby lamp, casting a golden hue across the scene, with an analogous color palette of warm browns, oranges, and yellows. There are no other people present.
A woman wearing a white t-shirt with the exact design “Roots & Skies” printed clearly on the front. Outdoor nature se...
A woman wearing a white t-shirt with the exact design “Roots & Skies” printed clearly on the front. Outdoor nature setting with trees and open sky. Scene 1: Medium front shot, gentle wind movement. Scene 2: Side profile shot as she slowly turns toward the camera. Scene 3: Slight low-angle shot with sky in background. Soft natural lighting. The t-shirt design remains unchanged and readable in all scenes.
a cat sleeping on a bmw black m5
a cat sleeping on a bmw black m5
A cinematic animated video of an anthropomorphic soda can based on the reference image. The soda can is fully alive, ...
A cinematic animated video of an anthropomorphic soda can based on the reference image. The soda can is fully alive, with expressive angry eyebrows, glowing eyes, boxing gloves and boots. The character walks toward the camera, cracks its neck, lightly punches the air and then speaks directly to the viewer in Brazilian Portuguese, with perfect lip sync and expressive mouth animation. Dialogue (Brazilian Portuguese, funny tone): “Ô campeão… calma aí. Eu sou só um refrigerante, mas se me chacoalhar de novo… eu explodo, viu?” After speaking, the can laughs, releases a small burst of steam from the top and strikes a boxer pose. Voice style: Brazilian male voice, informal, sarcastic, confident, natural Brazilian accent Emotion: funny, intimidating but playful Facial animation: exaggerated mouth movements, eyebrow acting, expressive eyes Style: hyper-realistic 3D, Pixar + cinematic realism Lighting: dramatic studio lighting, strong rim light Camera: slow dolly-in, slight cinematic shake Environment: gritty workshop or urban alley, blurred background Material: glossy aluminum, condensation droplets, realistic scratches Duration: 6–8 seconds Aspect ratio: 9:16 Audio: clear voice, subtle metallic body sounds, light steam hiss No subtitles. No text on screen. Ultra-detailed, high realism, cinematic quality.
the camera moves away from the engineer, and from the left comes a red furry crowd, and then they all hug the enginee...
the camera moves away from the engineer, and from the left comes a red furry crowd, and then they all hug the engineer, and the engineer says: come on, do we wanna kiss kiss boys!
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